Inline Nade 2 is a bold, wide, high contrast, upright, normal x-height font.
Keywords: posters, headlines, logos, packaging, signage, art deco, industrial, retro, display, decorative impact, signage feel, period flavor, graphic texture, geometric, monolinear cuts, stenciled, modular, sharp.
A geometric display face built from solid, heavy strokes that are consistently interrupted by narrow inline cutouts. Many letters feature a central vertical split or carved channel that creates a double-stroke impression, while bowls and counters are simplified into crisp, modular shapes. The design favors straight stems and clean curves with abrupt terminals, producing a constructed, sign-like rhythm across capitals, lowercase, and numerals. Spacing appears fairly open for a display style, helping the interior cut lines remain visible at larger sizes.
Best suited for headlines, posters, wordmarks, packaging, and signage where the inline carving can function as a graphic motif. It can also work for short pull quotes or title treatments in editorial layouts, especially when paired with a quieter text face. Avoid small UI sizes or dense paragraphs where the fine interior channels may lose clarity.
The carved inlines and segmented construction evoke Art Deco-era lettering, vintage signage, and machine-made graphics. Its tone feels bold, engineered, and theatrical—more poster and title card than book typography. The repeated internal cuts add a sense of motion and sparkle, giving the text a showy, retro-modern character.
The design appears intended to deliver a decorative, constructed look by combining chunky forms with precise internal cut lines, creating a distinctive inline texture without relying on ornament outside the letterforms. Its letter architecture prioritizes visual identity and period flavor over continuous text efficiency.
Several glyphs rely on distinctive internal splits (notably rounded forms and numerals), which becomes a defining texture in running text. The inline details are thin relative to the main strokes, so the design reads best when the cutouts have room to breathe and don’t fill in visually.